Photographer, primarily concerned with architecture, and an artist working within the expanded field of photography. He studied political science and sociology at the Institut d’Études Politiques in Paris and the London School of Economics before turning to photography. He is based in Warsaw.
Grospierre’s photographic practice unfolds between documentary inquiry and conceptual experimentation. A significant part of his work is devoted to architecture as a vessel of collective memory, examining the remains, afterlives, and aspirations of modernist buildings at a moment when the utopian ideologies that once sustained them have largely receded. His photographs approach architecture not simply as a physical object, but as a cultural and political record—one in which the ambitions of a former future continue to resonate through the present.
Alongside this documentary dimension, Grospierre develops a distinctly conceptual practice, often employing visual paradoxes, perceptual games, and constructed situations. His images combine intellectual play with an acute sensitivity to form, colour, atmosphere, and materiality, producing photographs that can be at once analytical and deeply sensual. This expanded understanding of the photographic image extends into installations and other forms of spatial presentation, where photography becomes not merely a means of recording space, but a means of questioning how space is perceived, remembered, and imagined.
In 2008, Grospierre was awarded the Golden Lion at the 11th International Architecture Exhibition of the Venice Biennale for Hotel Polonia, presented in the Polish Pavilion in collaboration with Kobas Laksa and curated by Grzegorz Piątek and Jarosław Trybuś. The project examined the transformation of architectural icons and the passage of buildings from one historical and ideological condition into another.
His photographic publications include Modern Forms: A Subjective Atlas of 20th Century Architecture (2016) and Modern Spaces: A Subjective Atlas of 20th Century Interiors (2018), both published by Prestel, London. Together, these works reflect his sustained interest in the architectural landscape as a repository of modernity’s dreams, contradictions, and unfinished futures.